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Here’s another sex comedy besides Mastizaade having two things in common, one is ofcourse Tushar Kapoor and the other is Milap Milan Zaveri who has written this one and directed that one. Music is given by Sajid-Wajid.

Music: Sajid-Wajid; Lyrics: Danish Sabri; Music Label: Zee Music Company

1. Jawaani Le Doobi – Singers: Kanika Kapoor, Uvie (Rap: Ikka) – Kanika Kapoor has successfully replaced Mamta Sharma now inspite of the fact that she is quite talented yet her talent is not being utilized by the composers properly, consequentially getting songs that are not worth her efforts. The song is found to be having prototype elements of previous Sajid-Wajid compositions. It’s a hook-obsessed song that keeps hovering around the hook line, presenting in slightly different ways. Don’t know about jawaani but composition definitely le doobi.

2. House Party – Singers: Shalmali Kholgade, Sajid, Wajid – Composers have taken this trouble of coming before the mic which…. do NOT have disastrous consequences though Danish Sabri’s lyrics mess it up terribly. He narrates some story of what happens in building and about his buildingwaalas and jumps up to his motive of saying some random stuff about House Party. Composers have taken the trouble of doing the rap also. Shalmali is avoidable and so is the song. Lazy attempt.

3. Oh Boy – Singers: Wajid & Shivranjani Singh; Guest Lyricist: Irfan Kamal – Nuisance hasn’t got over yet. Irfan Kamal appears as lyricist in this song but fails to make any difference in the quality. No, he did. He degraded it even more. Sajid-Wajid leftovers are again found in this song. Shivranjani is avoidable but not the song. The song is nocereous.

After a torturous affair in the form of Action Jackson, Prabhudeva is back in a comedy with Akshay Kumar. Using Sajid-Wajid, Pritam and Himesh Reshammiya one after another, he has finally moved on to multiple composers just like his contemporaries.

1. Tung Tung Baje – Singers: Diljit Dosanjh, Nooran Sisters; Music: Sneha Khanwalkar; Lyrics: Sneha Khanwalkar – Sneha Khanwalkar famous for her MTV Sound Trippin episodes, had founded these two treasures, The Nooran Sisters and this was their very first song which soon gave their first break in Bollywood with Highway. So, what better for Sneha than to modify her own track, giving it a bit more commercial feel, adding more techno-friendly elements and calling Diljit (dil jeet) on mic to justify the meaning of his name and literally win hearts. An amusing treat!

2. Singh And Kaur – Singers: Manj Musik, Nindy Kaur, Raftaar; Music: Manj Musik; Lyrics: Manj Musik, Nindy Kaur, Raftaar, Big Dhillon – Manj Musik’s music has generally the similar kind of elements that are definitely groovy which lead you towards the nearest dance floor available. It is surely enjoyable with Raftaar’s rap adding more fun to it, not having the shelf life though. There are four lyricists among which only Raftaar’s rap makes some sense. Pretty much the same stuff!

3. Cinema Dekhe Mamma – Singers: Wajid, Shaan, Ritu Pathak; Music: Sajid-Wajid; Lyrics: Wajid, Irfan Kamal – Sajid-Wajid are back again in the Prabhudeva camp creating the memorable Dhadang Dhadang effect which had made people including me crazy on the dance floors. It’s not as fast as that was but the groove is kind of similar, plus Shaan has justified it completely in the antaras which although slows the track, still keeps engaged. Mukhda is super fun that you might croon all day happily. Totally enjoyable!!

4. Mahi Aaaja / Mahi Aaja (Unplugged) – Singers: Manj Musik, Sasha / Manj Musik, Arijit Singh; Music: Manj Musik; Lyrics: Manj Musik – It’s a household song. Almost every Indian, particularly North Indian, is well acquainted with RDB’s first track which still is an obvious song in a North Indian baraat. Now since Manj is left, he recreated the track and it sounds beautiful, particularly the unplugged version sung by Arijit. The unplugged one has brought the real romantic essence which was hidden in its beats before. In a way, it has grown more compelling! #WelcomeSong

5. Dil Kare Chu Che – Singers: Labh Janjua, Apeksha Dandekar, Meet Bros; Music: Meet Bros; Lyrics: Kumaar – Another fun track and something very different from what Meet Bros – Kumaar combo usually create. Labh Janjua is a perfect material for these Punjabi tracks which have a comic element. In this, what Labh says in Punjabi, Apeksha translates that into English, considering the Amy’s character who knows only English. Kumaar’s lyrics are quite funny and the composition as a whole is catchy enough to get fully entertained!

Prabhudeva’s first attemot of going for multiple composers turns out to be a success! Sneha Khanwalkar, Sajid-Wajid, Manj Musik and Meet Bros, all four entertain to the fullest!

1. Daddy Mummy – Singers: Devi Shri Prasad (DSP), MM Manasi; Music: Devi Shri Prasad (DSP); Lyrics: Kumaar – Kumaar shows his vulgar avatar on the Hindi remake of a Telugu song ‘Aakalesthe Annam pedatha’ from the movie ‘Shankar Dada Zindabad’ The techno tune that constantly plays in the song is catchy and attractive yet quite stodgy. MM Manasi does have an attractive voice but doesn’t have the ability to hold the listeners for long. A repetitive sounding stuff with extremely cheap lyrics.

2. Iss Qadar Pyar Hai – Singer: Ankit Tiwari; Music: Arko; Original Music: Sajid-Wajid; Lyrics: Arko; Original Lyrics: Faaiz Anwaar – Have you heard the original one? Yes? Then it must be among your favorite songs. And you definitely won’t feel good for your favorite song to be spoiled. Arko is not to be blamed. T-Series is to be blamed here. Ankit Tiwari in not anyway can reach to what Sonu Nigam had done in this song from his very first album Deewana. The change that Arko brought in the first line of antara spoils everything. The rest is handled by Ankit’s vocals. Attempt it to hear how it sounds in 2015.

3. Aankhon Aankhon – Singer: Yo Yo Honey Singh; Music: Yo Yo Honey Singh; Lyrics: Yo Yo Honey Singh – Obviously when it’s Honey Singh, it has to be catchy. The point is that it’s not addictive. You are not eager to hear it more after the first attempt. That’s enough to say how good or bad this song is as there are no other measures like melody, instruments, arrangements to judge the goodness of the song. Catchy but neither addictive nor groovy.

4. Kinna Sona – Singer: Sunil Kamath; Music: Mithoon; Lyrics: Amitabh Verma – After a very long time, Mithoon is back in his original form, the way he used to compose in his early days though the composition unfortunately doesn’t turn out so well. Still, considering the level of the album, it is such a relief to finally here a soulful original composition. Sunil Kamath’s vocals are perfectly suiting the mood of the song which has been arranged well enough to be liked. A relief!

5. Meri Zindagi – Singer: Rahul Vaidya; Music: Mithoon; Lyrics: Amitabh Verma – It’s a delight listening to Rahul Vaidya after such a long time in a film soundtrack. His voice has grown mature but his vocals are as smooth as they were during Indian Idol days. After hearing the song, one wishes his more appearances in future. Mithoon’s composition is likable though it does lack that Mithoon-ish addiction, still it’s a decent one. Something to listen for. #WelcomeSong

Even after delivering ordinary compositions, Mithoon still saves this hopeless album wonderfully!

It’s been just few days for Tevar soundtrack to be out and Sajid-Wajid are already here with their next one. It’s an Arbaaz Khan Productions and after a successful collaboration with Sajid-Wajid in Dabangg and Dabangg 2, the choice for composers was obvious.

This is a typical Indian baraat kind of a song where you don’t at all care what the lyrics are and you just dance to the not-so-great beats supported by well played Dholak. Sunidhi acts a savior for this very ordinary tune, impressing the listeners with her expressive singing that was very much required for the song to sound good. Don’t care what the hell it is, just phatte tak naacho!!

I am waiting for the day when Sajid-Wajid will finally get tired of making cheap item songs with repeated style and not-so-different notes. They don’t even care to change the singer to atleast make the song sound slightly different. The song has a strong deja vu feeling obviously because of the similar attempts by Sajid-Wajid in the past, the recent one being Madamiya from Tevar. Lyrics are not worth mentioning. The Fashion of these kind of item songs should be khatam now.

Now the film industry has started taking inspiration from Television. The most popular phrase currently in this country is definitely Babaji ka thullu by Kapil Sharma. Now the man must be very happy to hear such a nice track on his phrase. This is undoubtedly the best singing by Wajid till now. His intentionally mocking vocals has made the song quite amusing with a good catchy tune, fun lyrics and decent arrangement. Quite an enjoyable song! #WelcomeSong

4. Dolly Ki Doli – Singer: Divya Kumar; Lyrics: Irfan Kamal

Divya Kumar is the current craze in the music market. Every song he touches, turns out to be having something unique. This title track has been composed and arranged very well, clearly depicting the involvement and hard work of Sajid-Wajid in this track. The antara is an experimental one with lots of varying notes set up in the rock background, well designed and recorded. An applauding attempt by the duo.

It seems repeated and stodgy yet it is undoubtedly a likable composition though it is Rahat whose singing is explicitly brilliant. Sajid-Wajid are expert in these kind of tracks with Tabla, Harmonium and other sufi-like instruments. Much has been written about naina, still Kumaar has managed quite well to not to repeat similar thoughts. Rahat just adds the beauty to this already likable composition.

Three songs applauding, two songs disturbing. Sajid-Wajid scores well in three out of five tracks.

Like this:

Boney Kapoor’s Tevar in association with Eros has actually been made 5th time in India. The scenario began in Telugu with Okkadu in 20013, which was the original and then it was remade in Tamil in 2004, which again remade in Kannada in 2006, which again remade in Bengali in 2008, which finally came to Bollywood i.e Hindi as Tevar in 2014. Arjun Kapoor is first time appearing in his father’s produced movie alongwith Sonakshi Sinha and Manoj Bajpayee. Music has been given to Sajid-Wajid who are the best in handling this department of the genre Action/Drama. Imran Khan of the Almplifier fame has been given one track which he has composed, written and sung.

If the hook line was already decided by the makers, then Boney took a great decision for opting Sajid-Wajid on board. Since they are actually Salman’s biggest fans, it must be pretty easy and spontaneous for them to compose a song on Salman’s fan. Arrangements are highly techno tuned and with Wajid’s lazy sounding vocals, a celebratory atmosphere forms for the die hard Salman fans. Also, the lyrics are quite entertaining with not just Salman in the picture but also the activities and a kind of an intro of the Salman fan i.e the character of Arjun Kapoor. A typical Sajid-Wajid track, providing nice entertainment!

2. Radha Nachegi – Singers: Ritu Pathak, Shabab Sabri, Danish Sabri

When it comes to modernize a traditional figure, Radha is Bollywood’s favorite. Now you can make her do anything you want. According to them, Radha likes to party which resulting in Music bajega loud, toh Radha naachegi. Barring this hook line, which is musically and lyrically flatly staid, the whole song is a brilliant effort by the duo. The intro by Ritu in a much sweeter voice than she actually has, the chorus by Sabri brothers, the arrangements led by Sitar as well as the handling of the beats all are placed wonderfully. Antara is a treat with the tune, the rhythm and the lyrics it is being made. A decent affair having flaws which can be easily ignored.

3. Madamiyan – Singers: Mika Singh, Mamta Sharma

This is something which you should completely ignore. Ignorance by the listeners for these songs can only terminate their productions. Sajid-Wajid’s annoying treatment with Horns, with a cheaply sounding tune and with a disturbing jodi of Mika and Mamta. Beats resemble to that of Dhadang Dhang (Rowdy Rathore) though the energy level of the former is much higher and the voice quality of singers (Shreya & Wajid) is incomparable. Very respectfully yaar, skip this track!!

4. Joganiyan – Singer: Shruti Haasan

You don’t expect Shruti Haasan to sing unless she is in the film, but this is an exception, not only for Shruti but for Sajid-Wajid also. An enormously beautiful composition, with effective handling of orchestration. Lyrics by Kausar are impressively laid on the tune, maintaining a good coordination between the two. This is definitely the best song in the voice of Shruti, giving her much scope to prove her expertise than her previous songs like Alvida (D-Day). Wajid doing the backing for Shruti in the hook line beautifies the song more. One of the perfectly arranged songs by Sajid-Wajid. #WelcomeSong

Shafqat steals the show here with his classically expert vocals which Sajid-Wajid has beautified with Veenain the mukhda. Quite a similar rhythm of Surili Akhiyon waali (Veer). The way Tabla is played in Sajid-Wajid’s songs is although too cliche, always impresses. The duo has quite smoothly mixed raag Hansadhwani with the Rock base and the chorus behind that is lovely. A lovely Thumri based fusion! Note: This is an old composition by Shafqat Amanat Ali which Sajid-Wajid have recreated with some modification. It’s all the way Shafqat Amanat Ali!

Woofer tu meri, meri, main tera Amplifier! Remember this ultimate catchy addictive track? That’s Imran Khan for you who doesn’t only disappoint here but also bores you to the core. Even the techno sounds are too cliche to be praised and the tune is too staid to give any compliment. All you remember after hearing this track is Moment! Moment! Moment! Moment! But don’t give a single moment of your life to this track.

In this middling soundtrack of Sajid-Wajid, they scored brilliantly in two tracks.

Everybody is wondering why Habib Faisal, after Ishaqzaade being musically so acclaimed having Amit Trivedi on board, opted for Sajid-Wajid this time. A very important reason may be that the film has Lucknavi and Hyderabadi flavor and Sajid-Wajid’s sound is quite suitable for this nawaabi flavor. Sajid-Wajid’s performance has been quite impressive in this year having Main Tera Hero and Heropanti in their bucket. Now with Daawat-e-Ishq, they have tried to emerge themselves more.

The title track is a much organised form of the typical Sajid-Wajid sound. It starts interestingly with Oud playing out loud, making nice sense to the Hyderabadi culture. Then the fusion with the Rock Guitars has been done with beautiful and precise amount of energy. With the help of the Guitars, the song quickly picks up the much needed pace and the rest of it is responsibly handled by Javed Ali. The first interlude is well managed with Santoor along with predictable though nice sargam. Sunidhi enters in the antara with a strong magnificence in her vocals. The tune of both the antara are very different to each other, one following the tradition, other being experimental. All the expected instruments have been used and lyrics were also expected to be like this only. A predictable track though very engaging!

Sarod leads this song beautifully. As soon as the song starts, it draws interest for the listeners. Sonu Nigam getting a big song after a long time, is a another appealing factor. Engaging rhythm picks up from the hook line meri mannat and that’s the point where you get assured about the goodness of this song. They have used parts of Santoor also and the use of Violin creates an enormous impact at the end of second antara. The first antara has beautiful upper notes and Sonu Nigam’s voice is made to sing these kind of notes. The second antara has certain traits of that of Maria Maria from Partner. Well, that’s not a big deal. With Sajid-Wajid, you can find numerous songs like this. Reprise version is better for Shreya Ghoshal fans as she gets more space there. But the fact is that the orchestration that has been done in the hook line is more suited with Sonu’s vocals so the original version is highly recommended. Sonu Nigam has got a beautiful big budget song. There’s no need to say more about it.

3. Rangreli – Singers: Shreya Ghoshal, Wajid

That cheap sound which we get to hear in every baraat, that sound which bandwaale plays or that sound which we used to hear in early 90’s marriage songs. After delivering two classy tracks, they return much to their comfort level where their listeners doesn’t get any comfort listening to the track. The tune is too weak and outdated and doesn’t fit to be in a Habib Faisal film. Thankfully Wajid doesn’t sound bad. The song belongs to the days of sona sona, dil mera sona…

4. Shayarana – Singer: Shalmali Kholgade

The Guitar riff introduces this creatively woven song and Shalmali is the USP of the track. Some arrangements which you can never expect from the duo. A classy tune which is hardly witnessed in their music. I can’t think of any other Sajid-Wajid track whose mixing has been done with so much clarity. The song is very much in the zone of Pareshaan, namely that Rock arrangements, Shalmali’s vocals, slowing of rhythm in the antara, filmed on Parineeti and belonging to Habib Faisal’s film. Pareshaan had much better instrumentation whereas it has mainly just the Guitar. Shalmali’s singing is slightly better in this song. That aaye haaye and the way of saying adaa bann gaya woh are some of the beautiful elements of her singing. One of the best songs of Sajid-Wajid! #WelcomeSong

5. Jaadu Tone Waaliyan – Singer: Shabab Sabri

The Rock qawwali that they have done numerous times and they never have done it satisfactorily. No wonder, this time there’s much similar impression for the song.Even Shabab Sabri’s decent singing doesn’t play saving grace for the track. The Rock Guitar after sometime starts sounding irritating in the same way as that of Yeh Jo Halki Halki from Son Of Sardaar. The arrangements although sound authentic, could have been classier. Fusion is not meant for Sajid-Wajid.

6. Daawat-e-Ishq (Instrumental)

By listening to the instrumental, I can bet that this is gonna be for the casting of the film. The instrumental witnesses some dialogues of giving orders in a resturant. The whole piece has been played well with Oud playing out the tune of the hook line of Daawat-e-Ishq. Nothing much in the instrumentation but a visionary instrumental for sure.

Daawat-e-Ishq –If although, not having the level of Ishaqzaade, at least Sajid-Wajid delivers their one of the best soundtracks their career. Shayarana is one of their best compositions. Out of the rest four, two are classy and the remaining two are just the typical Sajid-Wajid affair.

Like this:

Sajid-Wajid is riding high on the success of their latest album Main Tera Hero. They yearned for a successful album and finally they got one. Heropanti can act as a driving force in their current form as the movie is already highlighted because of Tiger Shroff’s debut, the son of Jackie Shroff. The moment I heard the name of the movie, I doubted if the songs would be having any creativity. And I think my doubt was in the right direction. A quite unusual thing has happened with this album. One song Whistle Baja Ke has been released by Saregama as it has its old famous tune from Hero. The rest of the soundtrack is by T Series. Sajid-Wajid have 3 tracks, one is by Mustafa Zahid and Bilal Saad and the remaining one is by Manjeet Ral.

Based on the the Guitar-Violin coordination, this song is just another typical Sajid-Wajid melody with heard before tunes of their previous songs. This has infact a very close resemblance to Tu Hai Shab from Tezz. You can notice the particularity in the antara. Resemblance is more traceable when you here Mohit Chauhan in both the tracks. The rhythm is a typical traditional one but the composition is really applauding. The mukhda is very melodious and the antara, if you ignore that resemblance, sounds really good. After Suno Na Sangemarmar, Kausar Munir has again used a very indianized lyrics and has a tinge of literature in it. The same old stuff with an ordinary decent tune and occasionally good lyrics. #WelcomeSong

An unusual arrangement for Sajid-Wajid where they overlaid the basic tune of Mukhasar and filled it with techno sounds. These kind of experiments are always welcome regarding the condition that the tune should be melodious and attractive. The problem is with the basic tune of Mukhtasar as that was itself a very staid composition and when you insert low frequency techno sounds in that, it gets even worse. Comparing to Mukhtasar, the only alleviation here is Arijit replacing Wajid. Arijit seems to have sung purposely in a tedious way creating an unimpressive impact. Shreya Ghoshal is the only charm here who gives the track the much needed dazzle. Lyrics is not anywhere near the level of Mukhtasar. A good attempt seemed vague at places.

So Mohit is again behind the mic with another romantic but sad song. No, finally it doesn’t resemble to any of Sajid-Wajid’s previous work. It sounds like a song belonging to Vishesh Films. It has that Bhatt essence in it which provides a kind of aggressiveness in romance. Lyrics has been created with a particular set in mind and that makes it quite predictable. Mohit Chauhan’s singing covers up all the flaws. His vocals suit perfectly and help the song to be driven a long way by the listeners. Nothing to boast about but still deserve a listen.

Here comes another intolerable composition in Bollywood music. This Manjeet Ral and Raftaar combo is a dreadful one. A very unorganized way of doing the arrangements and use of techno sounds. The lyrics by Raftaar is probably one of the worst lyrics ever. Plus, that annoying sound of kiss, adds more cheapness. I wish they never compose anything in future, otherwise the listeners will have to suffer a lot. Basically there’s nothing to listen and like about. As awful as you can think of.

It becomes vapid when the same old kind of stuff is being repeated again and again. Mustafa Zahid, in collaboration with Bilal Saad, has created a pleasant tune but it lacks freshness. The composition seems to have very minimal creativity. The Guitar rhythm is also a thing which we have heard in many romantic songs. They could have shown a little bit creativity either by providing some unique arrangements or by writing unconventional lyrics. A type of sad romantic song that we are very much acquainted with.

This is a very unique track. No, not because of the the composition but because of the legal issues. Although the whole soundtrack is by T Series, this track is by Saregama and it released individually as a single and not as a part of the album. I don’t understand why Saregama has been so strict with these crediting related issues. The reason for Saregama retaining the rights with them is only that an old whistle tune that was a part of the old movie Hero, had Saregama as music label. Just because of that tune, the song rights retained with them and actually that’s the only tune in the song which still sounds enjoyable and refreshing. The stanzas are catchy but seem heard-before. The female singer Nindy Kaur is damn irritating with her vocals and the lyrics by Raftaar is worth avoiding. The old “Hero” tune steals the show and also goes well with the title of the film. A roadside romeo song.

So, Heropanti is a monotonous soundtrack. Sajid-Wajid’s Rabba and Raat Bhar are just rebuilding of their old compositions. Tere Bina by Mustafa Zahid and Bilal Saad is just another sad stodgy composition. Saregama’s Whistle Baja Ke is a nice enjoyable track with few nuances. It is better to not to talk about The Pappi Song and Tabah could have been much better that it really is. Sajid-Wajid, Manjeet Ral and Mustafa Zahid have done a lot of hardwork in making this album dull, boring and repetitive.

The Final Verdict: OKAY

The Verdict Order: DISAGREE < NOT A PROBLEM < OKAY < POSSIBLE < AGREE

Listeners Ki Sameekshaa (Public Review)

Raat Bhar is quite similar to Mukhtasar from Teri Meri Kahani. After all, it’s Sajid Wajid. Same composer.

My favourite song is Rabba. Sad too see that ever since Arijit Singh arrived, Mohit is getting very less songs!

Every Sajid-Wajid album has one terrific melodious romantic track. This one happens to be Rabba. Great Job by Sajid-Wajid, Mohit Chauhan & Kausar Munir.

This ‘whistle song’ from Heropanti is really working for me. Something about it is working. Or maybe everything.